james beaver III
As a sickle cell survivor, art helps me get through uncomplicated or difficult times, whether I am feeling negative or positive, and leaves me healed when I am done working. My artistic goal is to make people smile, and to show that even through the dark times there is still a ray of light in the deepest recesses of the mind.
The majority of my work shows our connection with nature. Nature is the beauty on earth that is forever changing but still staying the same. My photography shows the beauty of flowers, and even the smallest flower can be the biggest star. Sculptural trees are formed out of steel and copper wire, reaching towards the clouds in the sky. Gradient tones in my painting show the beginning and endings of my day.
My future goals include developing my skills to become a leader and artistic advocate for the sickle cell community and sharing with them ways to heal their hearts and souls through art.
In my work hands are my most used tool; whether I am constructing sculptures, screen-printing images or photographing nature, my hands are the fuel to my work with process being the driving force. "I become one with the object created," said by Magdalena Abakonowicz. Time becomes irrevelant, and my sdurroundings become a single stop motion movie,each frame foloowing my process. I write down my ideas, materials, questions and categorize them into lists. Platforms to explore new creations and possibilites emerge.
As I start, I submerge my fingers into the process and make sure I get messy while exploring new ideas with new found materials. Like a child smearing colorful paint across a page with no real plan, that is how I learn.
Most of my early work has been based in capturing moments of reality through my photography. This contrasts immensely to my current work which is a variety of different things here and there; a variety of different curiosities developed by trial and error. This free flow of creative process that I strive for is strongly based in my desire for balance, and I aim to achieve that through organic and geometric shapes that hold each other together and create a composition that tells a story to an audience.
"If you must work, work to leave some part of you on this earth" - Keaton Henson.
I am obsessed with perfection, trying to visually convey on paper what is going in my head. I am devoured by my art, striving to release repressed thoughts and emotions. I drown in it.
The purpose of my art is to make people feel something. I tell stories and created a sense wonder by focusing on the subjects of life, death, and everything in between. What better way to share the joy of art than by becoming a tattoo artist and gifting people with a lifelong piece of art to remind them of what they loved, lessons they learned or something that made them smile.
All I want in life is to create and give, give what I have burning in my brain to anyone who will look. This is more than art; is my legacy.
jane sun kim
I often find myself alone in my headspace, running through the tender moments of my youth. Psychologists say that those who are more nostalgic are often happier individuals. But what if those memories are never shared and are trapped in a constant tape loop within our minds creating a lingering haze?
My art is a way to organize these obsessions and release them. I am fascinated by the raw glimmers in all of the in-between, awkward, and private moments that evoke the most intimate of emotions. Whether it is shown in the underlying melancholy of my photographs or in the discarded materials I use, I believe there is merit to the traditionally disregarded, disvalued, or damaged.
My works is heavily informed by the repetitive thought patterns resulting from OCD, anxiety and depression. I aim to challenge perceptions on mental health, sustainability, and embrace the vulnerability of our being through a voyeuristic narrative.
My work consists of film photography, discarded and undesirable material sculpture, and layered silkscreen prints.
Megan michelle orcutt
"When life is shit, make great art" -Abby Horst
Art serves as the catalyst for my survival, a fundamental part of why I have overcome trauma and given me a voice when I only knew how to be silent. The unyielding obsessions and fixations of how things relate to each other and how I make sense of the world are shrouded in the images I create. Compelled to punish myself by hyper-focusing on every imperfection as I create, my work and my process provide the solace to accept those lapses as a part of me. The space where they merge is the enigma of my life.
My work is driven by my never-ending thougthts that reside in my head. Much of my work is also driven by my past, abuse, and nightmares. I aim to show light on the subject of lonesomeness, vulnerability, and sadistic thoughts that others may feel familiar with. Creating art has been the easiest way for me to vent, reflect, and let others into my interior space, making my viewers feel the sense of loneliness and absence I am feeling.
I aim to explore the subjects of loss, chaos, manipulation, and paranoia. I try to create a unique nervous energy to each piece that lets the viewer inside my mind for a brief minute. Most of my work is extremely personal and a way out for myself, that can all relatively be open for interpretation. A major underlay that pulls all of my emotions and thoughts together, inviting you into a reflection of my universe, through self-portraiture.
My current work reflects my relationship to the cruelty of industrialized farming and animal agriculture. I am just now figuring out how or why I care so much about animals, but I do think it is heavily reflected from my self-portraiture. I am beginning to explore this new work by visually exposing the animal agriculture industry to my audience. We try to not think about the suffering and death cause by animal products because it makes us uncomfortable. When I show my work, it forces the audience to confront our reality.
"Our understanding is correlative to our perception." - Robert Delaunay
In my current work, I seek to alter the public's understanding of disability, especially those of the learning variety. As a person with learning disabilities and not a disabled person, I believe that my first-hand experiences create a unique dialogue to act as a catalyst for the understanding that I want my work to initiate. I strive to create work that makes the viewer process or perceive the material in a new light and in turn, shape the viewer's understanding.
The use of line tends to reverberate throughout my work. Whether willowy and intuitive or graphic and deliberate, the lines offer a window into my dyslexic mind. Their flow of energy is a continuation of a form that would have already ended in a non-dyslexic mind. Methodical planning and execution, reminiscent of my training in classical ballet, influences the visual art that I create. Even so, there are times when I let the side of my soul that developed a complicated relationship with improvised modern dance reign free. The resulting images take on a fearless quality that incorporates childlike sophistication with a mid-century modern aura.